Features http://www.guitarworld.com/taxonomy/term/5/all en The 50 Heaviest Rock Songs Before Black Sabbath — Songs 50 to 41 http://www.guitarworld.com/50-heaviest-songs-black-sabbath-50-41 <!--paging_filter--><p>The origin of heavy metal is a very fuzzy thing, but most historians and fans can agree that Black Sabbath’s eponymous 1970 debut was the first true heavy metal album. </p> <p>Its thunderous drums, sinister riffs and downright evil lyrics left little to be debated. But what we wanted to know was this: What was the heaviest song <em>before</em> Black Sabbath?</p> <p>We ranked the the following songs based on a variety of factors: distortion/fuzz, playing speed, "darkness," volume, shock value and, most importantly, the song had to have been released before mid-February 1970, when <em>Black Sabbath</em> was unleashed unto the universe. </p> <p>And sure, it would've been easy to list all the songs on the first two Led Zeppelin albums and call it a day, but we wanted to go deeper than that. We dug deep to find some hidden gems from the era of peace and love. </p> <p>NOTE: We will be presenting these songs in installments. Check out the first list of 10 below; we'll post the next 10 songs later this week! Until then, enjoy!</p> <p><strong>50. The Troggs, "Wild Thing" (1966)</strong></p> <p>This bit of caveman rock, written by Chip Taylor (actor Jon Voight’s brother), is the only song on this list to feature an ocarina solo.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Hce74cEAAaE" frameborder="0" allowfullscreen></iframe> </p> <hr /> <p><strong>49. The Yardbirds, “Happenings Ten Years Time Ago” (1966)</strong></p> <p>Jeff Beck and Jimmy Page teamed up on this elaborate, psychodramatic masterpiece to contribute slashing rhythm parts, zig-zagging lead lines and a witty imitation of a police car’s siren.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/0AF8yMx9SvE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>48. The Who, "My Generation" (1965)</strong></p> <p>Studio version not heavy enough for you? There’s always the explosive — literally — <em>Smothers Brothers Comedy Hour</em> version from 1967. Pete Townshend’s ears are still smarting from it. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/7xZOrWK6d4g" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>47. Coven, "Pact With Lucifer" (1969)</strong></p> <p>Jinx Dawson was Doro before there was a Doro. Coven makes the list for their occult themes and evil-sounding song titles like “Pact With Lucifer,” “Choke, Thirst, Die” and “Dignitaries of Hell,” but ultimately the music just wasn’t that heavy. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/iK7-H-DX5Uw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>46. The Guess Who, “American Woman” (1970)</strong></p> <p>After luring in listeners with a sweet acoustic blues intro, Burton Cummings, Randy Bachman &amp; Co. hit the stompboxes and showed the world what Led Zeppelin would’ve sounded like if they were Canadian. This one came out in January 1970 — mere weeks before Black Sabbath would redefine heavy. </p> <object width="620" height="365"><param name="movie" value="http://www.youtube.com/v/gkqfpkTTy2w?fs=1&amp;hl=en_US&amp;rel=0" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed type="application/x-shockwave-flash" width="620" height="365" src="http://www.youtube.com/v/gkqfpkTTy2w?fs=1&amp;hl=en_US&amp;rel=0" allowfullscreen="true" allowscriptaccess="always"></embed></object> <hr /> <p><strong>45. Pink Floyd, "Interstellar Overdrive" (1967)</strong></p> <p>The song that launched a thousand space-rock bands. </p> <object width="620" height="365"><param name="movie" value="http://www.youtube.com/v/2iA7wdO00VI?fs=1&amp;hl=en_US&amp;rel=0" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed type="application/x-shockwave-flash" width="620" height="365" src="http://www.youtube.com/v/2iA7wdO00VI?fs=1&amp;hl=en_US&amp;rel=0" allowfullscreen="true" allowscriptaccess="always"></embed></object><hr /> <p><strong>44. The Count Five, "Psychotic Reaction" (1966)</strong></p> <p>The Count Five’s only hit single was this blatantly Yardbirds-inspired gem from 1966. The band, who were all between the ages of 17 and 19, split up a year later to pursue college degrees. Remember, kids, there’s nothing heavier than an education!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/wseRJQdojIg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>43. The Wailers, “Out of Our Tree” (1966)</strong></p> <p>A fun, fuzzed-out offering from the Tacoma-based Wailers, one of the first American garage rock bands. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/LIAs-EBPNek" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>42. Sam Gopal, "Season of the Witch" (1969)</strong></p> <p>Sam Gopal was the first percussionist to bring tabla drums back from India and incorporate them into rock music. However, his 1969 album, <em>Escalator</em>, was a landmark in rock music for another reason: It featured, on vocals and guitar, a young Ian Kilmister. You may know him better as “Lemmy.” </p> <object width="620" height="365"><param name="movie" value="http://www.youtube.com/v/0KGgOFFQxnY?fs=1&amp;hl=en_US&amp;rel=0" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed type="application/x-shockwave-flash" width="620" height="365" src="http://www.youtube.com/v/0KGgOFFQxnY?fs=1&amp;hl=en_US&amp;rel=0" allowfullscreen="true" allowscriptaccess="always"></embed></object><hr /> <p><strong>41. Cream, "Sunshine of Your Love" (1967)</strong></p> <p>This song was written by Cream bassist Jack Bruce in a burst of inspiration after watching a Jimi Hendrix concert. Hendrix would cover the song a year later, adding some burning guitar licks in place of the lyrics.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RhzF2K2b7Xo" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/cream">Cream</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/50-heaviest-songs-black-sabbath-50-41#comments 50 Heaviest Songs Before Black Sabbath Cream The Yardbirds Guitar World Lists News Features Fri, 18 Apr 2014 13:34:30 +0000 Damian Fanelli, Josh Hart http://www.guitarworld.com/article/10950 New Book: Learn to Play 26 Kiss Classics http://www.guitarworld.com/new-book-learn-play-26-kiss-classics <!--paging_filter--><p>We have a new book at the <a href="http://guitarworld.myshopify.com/products/the-best-of-kiss/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BestOfKiss">Guitar World Online Store.</a></p> <p><em>The Best of Kiss</em> features transcriptions and tabs for 26 Kiss classics, including "Detroit Rock City," "Deuce," "Hard Luck Woman," "I Was Made for Lovin' You," "Lick It Up," "Love Gun," "Rock and Roll All Nite," "Shock Me," "Strutter" and many more.</p> <p>The 168-page book is available now for $24.95.</p> <p><strong><a href="http://guitarworld.myshopify.com/products/the-best-of-kiss/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BestOfKiss">For more information, visit the Guitar World Online Store.</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Gcj34XixuYg" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/new-book-learn-play-26-kiss-classics#comments News Features Fri, 18 Apr 2014 13:09:41 +0000 Guitar World Staff http://www.guitarworld.com/article/20735 Dog Camp: Richie Kotzen and Mike Portnoy Discuss the Winery Dogs' Immersive New Camp for Musicians http://www.guitarworld.com/dog-camp-richie-kotzen-and-mike-portnoy-discuss-winery-dogs-immersive-new-camp-musicians <!--paging_filter--><p>If you've ever wanted to get up close and personal with three of rocks' most talented musicians, here’s your opportunity. </p> <p>Richie Kotzen, Billy Sheehan and Mike Portnoy — better known as the Winery Dogs — have announced Dog Camp, their first-ever immersive program for aspiring musicians of all ages and levels.</p> <p>The event is set for July 21 to 25, 2014, at Full Moon Resort in Big Indian, New York.</p> <p>Attendees will be able to take part in instrument specific clinics and will learn about songwriting mechanics and the music industry. They'll even get to enjoy intimate performances by the Winery Dogs.</p> <p>If you’re a guitarist, bassist or drummer, there’s a course path for you to follow. But Dog Camp promises to be a deeper experience; the campers will be living, hanging out and jamming together. You’ll also be able to ask the hosts as many questions as as you want — and Kotzen, Sheehan and Portnoy will initiate one-on-one and group sessions to help you realize your goals as a player.</p> <p>I recently spoke to Kotzen and Portnoy about Dog Camp and what’s next for the band.</p> <p><strong>GUITAR WORLD: What was the reason behind the inaugural Dog Camp?</strong></p> <p><strong>Kotzen</strong>: It was something that was brought to our attention by our manager. Billy and I have done our fair share of clinics and have also participated in Rock and Roll Fantasy Camp. The idea of being in a position where you can actually sit and talk and play with people who are buying your records or are listening to what you do is inspiring.</p> <p><strong>What will a typical day be like?</strong></p> <p><strong>Kotzen</strong>: There will be a lot of one-on-one time and in groups. We’ll also have opportunities to play together, but not just cover songs. I really want to address improvisation and being able to unlock yourself and play with other people. </p> <p>I also like getting involved in what I call “concepts." Asking yourself, “Why am I learning the instrument and what are my goals and objectives?” Then we can start talking about how you can get there. For me, I use the guitar as a creative outlet to express myself; my biggest ongoing goal is to make the connection between me the person and the music that you hear.</p> <p><strong>Portnoy</strong>: We plan to do a lot of things individually and collectively. The "collectively" being the Winery Dogs doing special intimate shows and situations where the three of us will be open to question-and-answer sessions and playing unique things people won’t normally get at a traditional concert. </p> <p>Individually, we’ll be doing classes where we talk about our instruments, the business and industry and jamming with fellow musicians and campers. It’s going to be a very unique experience.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/IhClnCPoLeU" frameborder="0" allowfullscreen></iframe></p> <p><strong>What would you like campers to take away from this experience?</strong></p> <p><strong>Kotzen</strong>: The feeling of growth and knowing that you’ve learned something. This camp is an opportunity to share ideas and music and to grow as a musician and as a person. We may be the ones being asked the questions, but sometimes during the reveal I’ll gain a new found perspective on myself. I’m really looking forward to that.</p> <p><strong>Portnoy</strong>: I think it’s important for campers to remember that making music is not just about playing a drum solo in your bedroom or concentrating solely on technique. It’s about communicating with other musicians. For me, the interest is getting into it with other musicians and talking about it in a band scenario.</p> <p><strong>What can you tell me about the new <em>Special Edition Winery Dogs</em> compilation?</strong></p> <p><strong>Portnoy</strong>: <em>The Winery Dogs Special Edition</em> is a two-disc CD set that has a re-issue of the album on the first disc. The second disc contains 10 live tracks from Japan, including several covers and unreleased songs. It also has an expanded booklet with live shots. </p> <p>We also have the <em>Dog Treats</em> box set, which, in addition to the <em>Special Edition</em> set, includes a bonus disc of all of the demos we did in 2012 (before the album), a DVD with the music videos and interviews, a big booklet with my studio diary from the making of the record and little “treats” like a dog patch and dog tag.</p> <p><strong>Mike, why did you decide to include a studio diary?</strong></p> <p><strong>Portnoy</strong>: I’ve always been a stickler for detail and documenting things and organizing facts. When I was doing the studio diary, I wanted to get very specific about how a song came together. It’s interesting to read it and see the history behind every song. Like which ones came from Richie or which ones we came with on the spot or which songs morphed from other songs and demos. It’s a cool insight into not only the making of the record, but also the very beginning of the relationship of the guys in the band.</p> <p><strong>Can you give us an update on your tour plans and new Winery Dogs music?</strong></p> <p><strong>Portnoy</strong>: We’ll be out on the road April to August and plan on getting the follow-up album out in 2015. We’ve already written one new song that’s going to be in the live set.</p> <p><strong>You’ve all been involved in other bands and projects over the years. What do you enjoy most about being in the Winery Dogs?</strong></p> <p><strong>Kotzen</strong>: I really enjoy the notion of being in a band where everyone is able to share the load. It’s kind of like being on a really strong basketball team in the sense that you have three guys who are all capable of putting up points instead of just relying on one guy. That’s my favorite aspect of all.</p> <p><strong>Portnoy</strong>: For me, it’s about working with Billy and Richie. They’re musicians I have the utmost respect for and am a huge fan of. Stylistically, I enjoy being able to play something that is straight-up classic rock. I love prog and am the ambassador to prog music for this generation, but my musical taste is very broad. Every once in a while, it’s nice to get into Zeppelin, Who and Beatles mode, and I get to do that with the Winery Dogs.</p> <p><Strong>For more information on Dog Camp, visit <a href="http://winerydogcamp.com/">winerydogcamp.com</a>. For more about the Winery Dogs, visit <A href="http://www.thewinerydogs.com/">thewinerydogs.com</a>.</strong></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/richie-kotzen">Richie Kotzen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dog-camp-richie-kotzen-and-mike-portnoy-discuss-winery-dogs-immersive-new-camp-musicians#comments Mike Portnoy Richie Kotzen The Winery Dogs Videos Interviews News Features Wed, 16 Apr 2014 10:38:15 +0000 James Wood http://www.guitarworld.com/article/21018 May 2014 Guitar World: Zakk Wylde & Joe Satriani, How to Build a Pedal Board, John Frusciante, Death Angel, Tabs, Lessons and More http://www.guitarworld.com/may-2014-guitar-world-zakk-wylde-joe-satriani-how-build-pedal-board-john-frusciante-death-angel-tabs-lessons-and-more <!--paging_filter--><p><strong>The all-new May 2014 issue of Guitar World is <a href="http://guitarworld.myshopify.com/products/guitar-world-may-14-zakk-wylde-joe-satriani/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWMAY14">available now!</a></strong></p> <p>In the new May issue, <strong>Zakk "The Beast" Wylde</strong> and <strong>Joe "The Professor" Satriani</strong> meet up to riff on their craziest concert moments, Jimmy Page, and the state of rock guitar in 2014. Also, in an excerpt from his new autobiography, <em>Strange Beautiful Music: A Musical Memoir</em>, Satriani recalls the making of tracks from his breakthrough album, <em>Surfing with the Alien</em>.</p> <p>In addition, learn how <strong>Death Angel</strong> was poised to be metal's next big thing, until a horrific accident brought their ascent to a halt. Guitarist Rob Cavestany looks back at the group's rise and fall, and the rebirth that has brought them hard-won success.</p> <p>Later on, <strong>John Frusciante</strong>, the former Red Hot Chili Pepper, keeps the home fires burning with his latest solo effort, <em>Enclosure</em>, and tells why his performing days are behind him.</p> <p>Finally, want to master speed, precision and control in your guitar playing? An in-depth guide to hybrid picking will have you playing like a pro in no time.</p> <p>PLUS: <strong>Mastodon, Memphis May Fire, George Lynch, Skaters, Donovan</strong> and much more!</p> <p><strong>Five Songs with Tabs for Guitar and Bass</strong></p> <p> • Joe Satriani - "Summer Song"<br /> • Darius Rucker - "Wagon Wheel"<br /> • Red Hot Chili Peppers - "Dani California"<br /> • Black Label Society - "Stillborn"<br /> • Of Mice &amp; Men - "You're Not Alone"</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-may-14-zakk-wylde-joe-satriani/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=GWMAY14">The May 2014 issue of Guitar World is available now at the Guitar World Online Store!</a></strong></p> http://www.guitarworld.com/may-2014-guitar-world-zakk-wylde-joe-satriani-how-build-pedal-board-john-frusciante-death-angel-tabs-lessons-and-more#comments May 2014 News Features Wed, 16 Apr 2014 10:37:13 +0000 Guitar World Staff http://www.guitarworld.com/article/20938 Guitarist Rob Cavestany Looks Back at the Rise, Fall and Rebirth of Death Angel http://www.guitarworld.com/guitarist-rob-cavestany-looks-back-rise-fall-and-rebirth-death-angel <!--paging_filter--><p><em>This is an excerpt from the May 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Zakk Wylde &amp; Joe Satriani, John Frusciante, how to build a pedal board, a complete finger picking lesson, columns, tabs and reviews of new gear from Line 6, Ibanez, Strymon, G&amp;L, Ernie Ball and Orange, <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-may-14-zakk-wylde-joe-satriani/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=ZakkJoeExcerpt">check out the May 2014 issue at the Guitar World Online Store.</a></em></p> <p><strong>Blood Sacrifice: <em>In 1990, Death Angel were poised to be as big as Metallica until a horrific accident brought their ascent to a halt. Guitar Rob Cavestany looks back at the group’s rise and fall, and the rebirth that has brought them hard-won success.</em></strong></p> <p>Sitting in his home studio in Oakland, California, on a bright, breezy afternoon this past January, Cavestany appears to have come through Death Angel’s tribulations having regained a bit of his youthful optimism. </p> <p>The 45-year-old guitarist looks fit and nonchalantly rocks a timeless thrasher look that includes a full head of long black hair, a sleeveless shirt and tattooed arms. He’s also beaming with smiles and, in charming Cali fashion, is <em>hella stoked</em> to explain how a group of teenage cousins won over the Eighties Bay Area thrash scene, imploded, rebuilt and now—30 years later—sound better than ever. </p> <p>We’re soon joined by Cavestany’s six-string wingman, Aguilar, and his affable black lab, London. Over a plate of fresh fruit and cheese (the latter a particular favorite of London’s), Cavestany begins the Death Angel story at a familiar place for many budding rockers who came of age in the Seventies.</p> <p>“Kiss were the main reason why we got into music,” he says between sips of beer. “We had posters all over and we worshipped them. The original lineup of Death Angel were all cousins, so we would give lip-sync performances at family functions.”</p> <p>The jump from lip-syncing to really playing came after Cavestany and Dennis Pepa’s mothers took the boys to Kiss’ 1979 performance at the Cow Palace, outside of San Francisco. Witnessing the larger-than-life set lit a fire under the 11-year-old Cavestany, who made the decision then and there to play an instrument. He started off on drums, but it wasn’t until he picked up his father’s old acoustic guitar that he found his calling. He soon graduated to electric guitar and began exploring even heavier music.</p> <p>“When I started to play guitar, at the very first it was Sabbath, Zeppelin and AC/DC,” Cavestany says. “Then came Priest, Maiden and Scorpions, then Accept, Tygers of Pan Tang, along with Eddie Van Halen, and Randy Rhoads of course, who would have to be my all-time hero.” </p> <p>By 1983, when Cavestany was all of 15, Death Angel—at that time a four-piece featuring Galeon, Gus and Dennis Pepa, and Cavestany on both vocals and guitar—cut their first four-song demo, Heavy Metal Insanity, which reflected their classic metal and NWOBHM inspirations. Cavestany credits his discovery of Metallica as being the turning point when Death Angel’s style evolved into the manic thrashing sound they would become known for. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GS2x1nqJgkY" frameborder="0" allowfullscreen></iframe></p> <p>“Seeing Metallica play was the next thing after we saw Kiss, when we’re all like, Oh shit! We’ve got to change our style. We’ve got to get heavier and faster,” Cavestany says.</p> <p>Metallica would play a pivotal role in the Death Angel story in more ways than one. After attending a Metallica in-store signing, the guys unexpectedly hit it off with Kirk Hammett. Over the next few years, as Death Angel continued to gig and refine their sound, they would pass their boom-box demos to the guitarist whenever they would run into him at local metal shows. Their persistence paid off when Hammett agreed to produce their second batch of songs, which would become their 1986 <em>Kill as One</em> demo.</p> <p>“Kirk was really nice and always really supportive of us,” Cavestany recalls. “Eventually he heard enough potential to get himself involved, which was very major for us.”</p> <p>Kill as One benefited from Hammett’s production insights as well as the addition of singer Mark Osegueda (another of Cavestany’s cousin), whose style gave the music a fresh thrash flavor and edge that was missing from the old-school sounds on Heavy Metal Insanity. Kill as One became popular among the tape-trading scene, and Death Angel scored key gigs opening for bands like Slayer. Soon, indie label Enigma approached the group with a contract for a full-length record.</p> <p>“I’m sure the novelty is what first got people’s attention,” Cavestany says with a laugh. “Like, These guys are way young, they’re all cousins, and they look like small Chinese girls going crazy onstage!”</p> <p>Riding a wave of youthful exuberance and unwavering confidence, Death Angel blazed through the recording of the songs that would become their debut album, 1987’s <em>The Ultra-Violence</em>. Tracked in three days and mixed in two, their fierce debut confirmed that these kids weren’t a novelty—this was serious thrash on par with many of the older more experienced bands of the scene. It had the speed of early Metallica, the unhinged quality of Slayer and the brazen attack of Anthrax. </p> <p>“We didn’t really second-guess too many things that we were doing,” Cavestany says. “We just went at it relentlessly. We thought it was amazing. Now if I try to play along to that CD, I almost can’t do it because we are so out of control. [laughs] It’s so off, and everyone’s crazy. But it’s got that rawness.”</p> <p>While Death Angel may have managed to get a full-length pressed and catch some people’s attention, they certainly weren’t living on easy street. The guys were still toiling at their day jobs and relying on their families’ support.</p> <p>“I was working at Tower Records when <em>The Ultra-Violence</em> came out,” Cavestany recalls. “And my dad was my main roadie for the first couple of years, buying me equipment and driving me around. Our families couldn’t understand the kind of music we were trying to play, but they were proud of us. My grandmother would come to our shows, and my mom would be there wearing her Death Angel shirt.”</p> <p><em><strong>For the rest of this story, plus features on Zakk Wylde &amp; Joe Satriani, John Frusciante, how to build a pedal board, a complete finger picking lesson, columns, tabs and reviews of new gear from Line 6, Ibanez, Strymon, G&amp;L, Ernie Ball and Orange, <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-may-14-zakk-wylde-joe-satriani/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=ZakkJoeExcerpt">check out the May 2014 issue at the Guitar World Online Store.</a></strong></em></p> <p><em>Photos: Jimmy Hubbard</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/death-angel">Death Angel</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitarist-rob-cavestany-looks-back-rise-fall-and-rebirth-death-angel#comments Death Angel May 2014 Interviews News Features Magazine Tue, 15 Apr 2014 20:53:58 +0000 Brad Angle http://www.guitarworld.com/article/20948 Guitar Legends Celebrates 50 Greatest Classic Rock Guitar Songs — with Bonus Instructional DVD http://www.guitarworld.com/guitar-legends-celebrates-50-greatest-classic-rock-guitar-songs-bonus-instructional-dvd <!--paging_filter--><p><em>Guitar Legends: 50 Greatest Classic Rock Guitar Songs</em> — including an instructional DVD with tabs — is <a href="http://guitarworld.myshopify.com/products/guitar-legends-50-greatest-classic-rock-guitar-songs/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=Legends50ClassicRock">available now at the Guitar World Online Store for only $9.99.</a></p> <p>It's a collection of the best classic rock songs of all-time, from Jimi Hendrix, Led Zeppelin and Lynyrd Skynyrd, to Nirvana, the Allman Brothers Band and the Eagles!</p> <p>The editors of <em>Guitar World</em>, the world's best-selling guitar magazine, have compiled an entire issue dedicated to the 50 all-time greatest classic rock songs. The issue celebrates the finest of the classic rock anthems. </p> <p>This diverse list not only details every song and artist, but also provides perspective on how each song has influenced musicians. In <em>Guitar Legends: 50 Greatest Classic Rock Guitar Songs</em>, you'll learn everything there is to know about how classic rock impacted the music world.</p> <p>Also included inside the issue: a 60-minute instructional DVD featuring guitar tabs!</p> <p>DVD video lessons on how to play songs from classic rock greats:</p> <p> The Beatles - "I Saw Her Standing There"<br /> The Rolling Stones - "Honky Tonk Women"<br /> Grateful Dead - "Casey Jones" &amp; "Friend of the Devil"</p> <p><strong><a href="<a href="http://guitarworld.myshopify.com/products/guitar-legends-50-greatest-classic-rock-guitar-songs/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=Legends50ClassicRock">">It's available now at the Guitar World Online Store!</a></strong></p> http://www.guitarworld.com/guitar-legends-celebrates-50-greatest-classic-rock-guitar-songs-bonus-instructional-dvd#comments News Features Tue, 15 Apr 2014 12:18:33 +0000 Guitar World Staff http://www.guitarworld.com/article/21014 Thirty Great Guitarists — Including Steve Vai, David Gilmour and Eddie Van Halen — Pick the Greatest Guitarists of All Time http://www.guitarworld.com/30-30-greatest-guitarists-picked-greatest-guitarists <!--paging_filter--><p>Who is the greatest guitarist on the planet?</p> <p>On the face of it, that question is a no-brainer: It's Hendrix. Or Clapton. Or Page. Or Beck. Or ... is it? </p> <p>In 2010, as <em>Guitar World</em> was celebrating its 30th anniversary, we picked 30 guitarists and asked them to name their guitar heroes — and the results will surprise you. </p> <p><strong>ANGUS YOUNG by Joe Perry</strong> </p> <p> Apart from the usual suspects—Page, Clapton, Beck, Hendrix and Peter Green—one of my favorite guitarists is Angus Young. I first saw him when AC/DC opened up for Aerosmith in the Seventies. </p> <p>They played about 25 dates with us, and I was just overwhelmed by his energy and ability to do his acrobatics without missing a note. He definitely had an influence on me inasmuch as his solos always had a purpose. Instead of using all the traditional tricks, he found a way to get inside those licks and be inventive. My favorite AC/DC song is probably “Sin City.” </p> <p> For me, the essence of a good guitarist is someone who plays what the song calls for. It’s about listening to the music as a whole and then doing what you need to do. Sometimes it’s not even what you play; it’s what you don’t play. Which brings us back to Angus Young. </p> <p> <strong>CHUCK BERRY by Angus Young</strong> </p> <p> When I was growing up, everyone used to rave about Clapton, saying he was a guitar genius and stuff like that. Well, even on a bad night, Chuck Berry is a lot better than Clapton will ever be. </p> <p> Rock music has been around since the days when Chuck Berry put it all together. He combined the blues, country and rockabilly, and put his own poetry on top, and that became rock and roll. And it’s been hanging in there. </p> <p> AC/DC’s whole career has been playing rock and roll, and I’m sure you still get a lot of people tuning in to bands like us and the Stones. Younger bands will be plugging into it and taking it into the next realm. There’s always going to be another generation that will take it and give it to a new, younger audience, so I think it will just keep going on. </p> <p> <strong>STEVE VAI by Tom Morello</strong> </p> <p> Some instrumental guitar players are lost in a muso fog. Steve Vai is not one of them. He’s an artist, and one of the greats. </p> <p> I’ve certainly learned from him, especially from his work ethic. I started playing guitar very late, when I was 17 years old. I felt really behind, and when I read about Steve’s practice regimen it really encouraged me. It also nearly killed me! While doing my college studies I was also practicing eight hours a day to amass the kind of technique that I admired in players like him and Randy Rhoads. </p> <p> Once, Steve was doing a presentation at GIT, and he asked me to do it with him. He told me he’d also invited Steve Lukather, Stanley Jordan, Joe Satriani. I said, “No, bro, it sounds like it’s gonna be a shred-off.” But he said, “We’re not even gonna play; we’re just gonna discuss our craft.” So I said, “Okay, I’ll do it.” </p> <p> A couple of days before the event, he says to me, “Just bring your amp and guitar along in case we have to demonstrate techniques.” So of course, I get there for soundcheck, and my worst nightmare has come true: it was six of us in a row with our guitars, and it was nonstop shredding the whole time. </p> <hr /> <p> <strong>TONY IOMMI by James Hetfield</strong> </p> <p> As far as being a riff-and-rhythm guy, my favorite guitarist is Tony Iommi. He inspired me to want to play heavy. </p> <p>I admired other rhythm players, like AC/DC’s Malcolm Young, who’d just stay in the back and hold it down, and the Scorpions’ Rudy Schenker, who has a lot of percussiveness in his playing. I also liked Rush’s Alex Lifeson—people wouldn’t think of him as a rhythm player, but he comes up with some pretty amazing offbeat things. </p> <p> But Iommi is the main man. To me, he seemed like one of those quiet geniuses. At one time he was the frontman of Black Sabbath, and Ozzy was off to one side; at that time, the riff was more important than the vocals. Tony can go from the heaviest minor-key doom riff to a happy mode, and it will still sound heavy. Metallica can’t do happy, but Tony can pull it off. My favorite Black Sabbath track is “Into the Void.” </p> <p> <strong>ERIC CLAPTON by Eddie Van Halen</strong> </p> <p> Clapton was it. I knew every note he played. Mammoth—me, Alex Van Halen and a bass player we knew—were the junior Cream. </p> <p> Being limited gear-wise forced me to find my own voice on the guitar. That’s why Eric Clapton’s live jams with Cream were such an influence on me. Back in ’68, he was pretty much just using natural distortion on those live tracks on <em>Wheels of Fire and Goodbye</em>. </p> <p>I had no money and couldn’t afford a fuzz box or a wah-wah or a ring modulator, or whatever Hendrix had in his whole rig. I just plugged straight into an amp and turned it up to 11. So in order to get a different or unique sound, I had to learn to squeeze it out of the strings with just my fingers. I never had a guitar lesson in my life, except from listening to Eric Clapton records. </p> <p> <strong>JIM McCARTY by Ted Nugent</strong> </p> <p> I discovered the most powerful musical influence of my entire life when I played the Walled Lake Casino outside of Detroit. It was either 1959 or 1960. My band the Lourdes opened up for Martha &amp; the Vandellas, Gene Pitney, and Billy Lee &amp; the Rivieras, who went on to become Mitch Ryder &amp; the Detroit Wheels. Their guitarist was Jim McCarty, who played a Gibson Byrdland through a Fender Twin. </p> <p> Standing there watching McCarty rip into his leads, I thought, Dear god in heaven, what is <em>that</em>? It was so outrageous, so noisy, yet so musical and so rhythmical. I realized that simply playing a song would never do again. </p> <p> After I heard him play, I went on a gee-hah to get a Byrdland and a Fender Twin amp—because of the crispness, the thickness, the style of his playing. It was about using all the fingers, all the strings, all the time. </p> <p>That’s where the multi-rhythmic patterns on my song “Stranglehold” come from, with all the grace rhythms, all the counter-rhythms, all the pedal tones that never stop. I’m playing multiple parts on the guitar by using various incremental touches to each string. And that’s because of McCarty. </p> <p> <strong>KEITH RICHARDS by Steven Van Zandt</strong> </p> <p> The British invasion of 1964 to 1966 turned Americans on to our own rock and roll pioneers and blues players. I grew up on Keith Richards, and his lead on the Stones’ versions of Chuck Berry songs helped reinvent the guitar for Beck, Clapton and Jimmy Page. </p> <p>I always felt that you go through that muso phase and stay there or get out. I went out the other end. I didn’t want to be a virtuoso for a minute. So I came full circle to the fact that the guitar solo must serve the song—that’s more important. </p> <hr /> <p> <strong>JIMMY HERRING by Alex Skolnick</strong> </p> <p> Some may not know Jimmy Herring’s name, but they will know the bands that he’s played with: the Allman Brothers, the Grateful Dead, Widespread Panic, and Jazz Is Dead. He’s a hero of the jam-band scene, which is kind of funny, as stylistically he’s very influenced by jazz. </p> <p> Jimmy has his own band called Aquarium Rescue Unit, who operate on a level similar to [<em>jazz-fusion group</em>] Weather Report. Having said that, although people like the Dave Matthews Band and Bruce Hornsby took them out on tour and begged their own label to sign them, Aquarium Rescue Unit never got a decent record deal and eventually disbanded [<em>in 1997</em>]. They reunited in 2005 and have played somewhat sporadically since then. </p> <p> Jimmy is an incredible player. He has the bluesiness of Warren Haynes or Johnny Winter and the vocabulary of John Scofield, with an element of Steve Morse thrown in. If that sounds appealing, then track down a copy of Aquarium Rescue Unit’s 1993 album, <em>Mirrors of Embarrassment</em>. Play it, and you’ll wonder why you’ve never heard of him until now. </p> <p> <strong>RITCHIE BLACKMORE by Phil Collen</strong> </p> <p> The first gig I ever went to was Deep Purple, during their <em>Machine Head</em> period. They played “Highway Star,” and it blew me away. And that’s when I decided to start playing guitar. </p> <p> Ritchie Blackmore was a huge influence because he was flashy. I love really flashy lead guitar playing, and Blackmore’s technique is great. It’s aggressive. When he hit a chord, it was like being punched in the face. I don’t really care about finger picking, and acoustic doesn’t satisfy me. It’s electric, screaming loud rock that I love. </p> <p> As far as what he’s doing now [<em>playing Renaissance-style music with Blackmore’s Night</em>], I honestly respect him. The fact that he’s still playing and is passionate about it is great, even if it is a bit wonky and weird. He can take liberties. He’s Ritchie Blackmore. </p> <p> <strong>GLENN TIPTON &amp; K.K. DOWNING by Zakk Wylde</strong> </p> <p> When I think of underrated guitarists, I go for some of the guys in really big bands, the ones who get overshadowed by the achievements of their band act. For instance, when Journey is mentioned, you think of great songs and amazing vocals. But who ever praises Neal Schon? And that guy can play up a storm. </p> <p> That’s why I pick Glenn Tipton and K.K. Downing from Judas Priest. It’s two guitarists, yes, but you always think of them as one. They are the ultimate twin guitarists in metal—they go together. Just listen to the amazing riffs they’ve come up with over the years. And these guys can shred with the best. </p> <p> Tipton and Downing have influenced generations of young guitarists, but a lot of the time these kids don’t even realize that what they’re playing all started with Judas Priest. Tipton and Downing have also given metal a subtlety that’s often overlooked. Both appreciate that sometimes you are most effective when you back off the pedal a little. You don’t need to be blazing all the time. </p> <p> They’ve worked together for so long that each immediately understands what to do in a song. Sometimes Tipton is soloing and Downing is riffing, and then they’ll change over—it’s not like one does the lead work and the other does the rhythm. This is also what they introduced into metal: the idea of not only being a great lead player but also being prepared to let the other man have the spotlight when it matters to the music. </p> <p> Without Tipton and Downing, metal would be very different. That’s why I have such a high regard for them. In my book, they rule. </p> <hr /> <p> <strong>LESLIE WEST by Martin Barre</strong> </p> <p> Leslie West made a big impression on me when Mountain supported Jethro Tull on a long U.S. tour during the early Seventies. In those days, opening acts weren’t too friendly, and it all became a bit competitive, but Mountain were lovely guys, and we really hit it off. They were such a great band. I loved Leslie’s larger-than-life style, they had great songs, and they were so incredibly tight. In that last respect, they taught Jethro Tull a lot about being a band. </p> <p> I know of at least three people that were affected by Leslie’s playing style—myself, John McLaughlin and Mick Ralphs [<em>of Mott the Hoople and Bad Company</em>]—but I’m sure there are plenty more. Leslie has such recognizable tone, and I love the melodic way he plays; every note counts. He never resorts to the pyrotechnic approach or feels the need to be overly clever. </p> <p>If you want a good starting off point for a beginner, go with <em>Climbing! </em>[<em>1970</em>] or <em>Nantucket Sleighride </em>[<em>1971</em>]. I still love what Mountain did with “Theme from an Imaginary Western.” My goodness, they brought that to life, especially onstage. </p> <p> <strong>JEFF BECK by David Gilmour</strong> </p> <p> I’m sort of horribly, pathetically fannish about Jeff. Ever since “Hi Ho Silver Lining” came out [<em>in 1967</em>] when I was 20-odd years old, I’ve revered him and his playing. In many ways he is just the best guitar player. And 40-something years since he came to prominence in the Yardbirds, he is still the only person pushing forward in that way. He’s never retreading old ground; he’s always looking for a new challenge. </p> <p> Jeff’s scarily brilliant. He’s a tightrope walker. I’m not. I like to cover all my bases and make myself secure with a great band, with the music all rehearsed. I just walk out there, and if I didn’t even play anything it would still sound great. Jeff’s different. He’s out there mining that seam. </p> <p> <strong>JIMI HENDRIX by Joe Satriani</strong> </p> <p> The first thing that really flipped me out was hearing “The Wind Cries Mary” on the radio. Before that, I was a drummer, and I started from watching the Rolling Stones and the Beatles on <em>The Ed Sullivan Show</em>. But as soon as I heard Hendrix, that was it. </p> <p> What made him great was his choice of notes. When you hear “Machine Gun” from <em>Live at the Fillmor</em>e, you have no idea what’s going to happen in the next few minutes. You’re totally unprepared. With “Voodoo Chile (Slight Return),” you can’t believe how perfect a performance it is, and it’s just a blues thing in E. </p> <p> Unfortunately, the Seventies were a hellish period for many great players, if you look at Hendrix’s comrades, it was a rough road. But look at someone like Jeff Beck—he just gets better and better. </p> <p>I saw him a month ago in Oakland, and I was just in tears standing at the side of the stage listening to him playing “Where Were You.” Nowadays, as a guitarist you want to celebrate what you’ve been able to play, which goes back to quoting other great players, but you also feel a responsibility not to copy those people. In my mind, when I’m playing, my heroes are sitting on my shoulders. </p> <hr /> <p> <strong>BRIAN MAY by Steve Vai</strong> </p> <p> I don’t think enough is really said about the brilliance of Brian May’s guitar playing, in the sense that it’s overshadowed by the greatness of the music itself. The <em>Queen II</em> album was one of those pivotal moments that just nailed me to the wall. </p> <p> He’s probably one of the top identifiable guitar players, even more so than Beck, Page and Clapton. They’re all so identifiable, but Brian May had such a tone in his head and in his fingers. It speaks volumes. His contribution to orchestrated guitars is unprecedented. There was nothing like it before him. </p> <p>To me, it was like when Edward Van Halen came along and reshaped the sound of electric guitar. That’s what I heard in Brian May’s playing. It’s something that’s inherent in the brain of the guitar player. </p> <p> I remember working with Frank Zappa for the first time. I had just moved out to Los Angeles, and nobody knew me. I was 21. I went to the Rainbow Bar &amp; Grill, and Brian May was there. I couldn’t believe it. I mustered up every little bit of courage and went up to him and said, “Thank you so much for everything you’ve done. I play guitar. I’m here in town with Frank Zappa.” He said, “Oh, really? Why don’t you come down to our rehearsal?” </p> <p> I went down, and he brought me up on the stage, and he let me play the guitar—the guitar that he built with his dad [<em>the “Red Special”</em>]. I couldn’t even believe that I was touching this instrument! He was so kind and so warm, and for who? This kid, you know? And I played his guitar, and it sounded like Steve Vai. Then when he played it, it sounded just like Brian May. It was very apparent to me that his tone is in his fingers and his head. </p> <p> He’s a class act from head to toe, and it shows in his playing. I can listen to any player and pantomime their sound, but I can’t do Brian May. He’s just walking on higher ground. </p> <p> <strong>MARTY FRIEDMAN by Jason Becker</strong> </p> <p> When I was 16 years old, I sent a demo tape to Mike Varney of Shrapnel Records. He called me and said I should go and meet Marty. </p> <p> I went to Marty’s tiny apartment in San Francisco. We started jamming, without amps. That moment changed my life. What he was doing was so new to me. The unique bends, vibrato, exotic scales, phrasing and timing were fascinating to me. And then it hit me: he was a lot better than I was. I started to sweat. I tried to play my best stuff, but my musical mind had already shifted. I knew I wanted to learn from this guy. </p> <p> Marty was very complimentary of my technique and the melodies on my demo tape. He started coming over to record his songs on my four-track. He taught me the second harmonies and counterpoint lines. Once he saw that I was a sponge for learning, he started incorporating some of my ideas. I feel like every day that I jammed or wrote with Marty was like taking lessons for a year. He taught by example, and with his influence I learned how to be my own unique creative artist. Even to this day, when I am composing and I get stuck, I think to myself, What would Marty do? </p> <p> <strong>EDDIE VAN HALEN by Richie Kotzen</strong> </p> <p> This is kind of embarrassing, but the first time I heard Eddie Van Halen was on the solo for Michael Jackson’s “Beat It.” I was like, “Man, that’s unbelievable. Who is this guitar player?” I asked around and found out it was Eddie Van Halen. Then I ended up getting some Van Halen records, and after that I just really wanted to play like him. </p> <p> He didn’t sound like any other guitar player, but it was more about the way that he played the notes. Everyone talks about Van Halen’s sound, but it really has to do with his timing, his rhythm style and his phrasing. It’s more about that to me than the amp or whatever guitar he’s using. </p> <p> The first time I saw Eddie play, I had the best possible seat. Because we had the same guitar tech, I was able to watch him from this little room under the stage, where he goes to change guitars or do whatever. It was pretty incredible. </p> <hr /> <p> <strong>YNGWIE MALMSTEEN by George Lynch</strong> </p> <p> Every little microevolution of the guitar that came along in the Sixties, Seventies and Eighties influenced me. The number of people I didn’t appreciate is probably a much smaller list. </p> <p> Yngwie is one of those players that had a huge impact on me. His neoclassical style was just mind-blowing to me. I was raised as a blues player and learned my chops in the late Sixties, early Seventies, so it was all incredibly new to me. Just the ferocity of it was mesmerizing. The ease with which he does it was fascinating, too. </p> <p> Ultimately, guitar-driven Eighties music had wound itself to the point of absurdity and inaccessibility. I mean, how many people can actually appreciate that kind of music? It’s just an elitist speed contest. But Yngwie created the trend. On a pure playing level, players that create music that touches people are always viable. And that’s why he’s still around and a lot of the other guys aren’t. </p> <p> <strong>MICK TAYLOR by Slash</strong> </p> <p> Mick Taylor had the biggest influence on me without me even knowing it. My favorite Stones records were <em>Beggars Banquet</em>, <em>Let It Bleed</em> and <em>Sticky Fingers</em>. Those three were major to me because I was exposed to those records as a kid when they first came out. Mick Taylor played on a couple of those records and went on to play with the Stones for a couple more. As I got older and started playing guitar, I always gravitated to his style. </p> <p> People always mention Jimmy Page, Jeff Beck, Angus Young…all the obvious ones. But there are guys like Mick Taylor and Joe Walsh that were as important. Mick Taylor had a really cool, round-toned bluesy sort of thing that I thought was really effective. </p> <p> One of the greatest Mick Taylor solos is on “Can’t You Hear Me Knocking?” from <em>Sticky Fingers</em>. It’s the kind of stuff that’s almost like old Eric Clapton—it’s very simple stuff, but it’s about how the notes are placed and how you approach them. The new guard of guitarists always forgets about doing simplistic and very effective guitar playing that speaks to you. It’s not all about two-handed tapping. </p> <p> <strong>RANDY RHOADS by Frank Hannon</strong> </p> <p> I was always a big fan of Randy. In 1980, when Ozzy’s <em>Blizzard of Ozz</em> came out, some friends of mine went to see him perform in Oakland and came back raving, saying, “Man, we saw this guitarist today, and he was better than Eddie Van Halen!” </p> <p> This was a few years before we started Tesla. I was already playing guitar and was a big fan of Eddie Van Halen. So we went down to the local record store and got the album, and I was infatuated from day one. Randy was doing everything that Van Halen did, and more. It was the classical knowledge that he was incorporating into the guitar. The arrangements on “Crazy Train” and “Mr. Crowley” were unbelievable. I think a lot of the soloing on Van Halen tracks were improvised, which is cool. Randy took it a step further. His discipline probably came from his mother who taught him at her music school [<em>Musonia School of Music in North Hollywood</em>]. When I was a kid I would read the guitar magazines, and he would always mention that his mother was a big influence. </p> <p> I went to visit the school, and I met Randy’s brother, Kelle, and his mother Delores, who is nicknamed “Dee.” “Dee” was also the title of an acoustic song on <em>Blizzard of Ozz</em>, which was a big influence on me. If you listen to my acoustic solo on “Love Song” it’s really inspired by that. I played that for Dee when I met her recently. She loves meeting fans, and she told me some stories about Randy. She said that his favorite song was [<em>the Big Band swing tune</em>] “Chattanooga Choo Choo,” how he found his first guitar in his father’s closet, and how when he was in London recording <em>Diary of a Madman</em> he would spend all his downtime studying classical music at a university. She just lit up when she talked about Randy. I have a video of that meeting on my web site. </p> <hr /> <p> <strong>ZAKK WYLDE by Ron &quot;Bumblefoot&quot; Thal</strong> </p> <p> I first heard Zakk in 1986, when he was with a New Jersey band called Zyris. The next thing I knew, he was playing with Ozzy. Like Zakk, I had been a huge Randy Rhoads fan, so I was very happy that Ozzy picked Zakk to be his guitarist. </p> <p> When you hear Zakk’s playing, you know right away that it’s him, with that distinctive use of harmonic vibrato on the lower string. Before he came along, every time you saw a blond-haired guitarist kicking a Les Paul’s ass you thought of John Sykes. Now you also think of Zakk. In addition, he’s very diverse stylistically, with the southern rock of Pride and Glory [<em>Wylde’s early Nineties group</em>], the singer-songwriter style of his <em>Book of Shadows</em> album [<em>1996</em>] and, of course, what he does with Black Label Society. </p> <p> I met Zakk for the first time about a year and a half ago; he was a guest on my friend’s TV show. His visit to the studio was supposed to last for three hours, but he ended up staying for 14. Besides being a phenomenal musician, Zakk’s as good-hearted as I expected. I hope that some day we can do it again. </p> <p> <strong>B.B. KING by Billy Gibbons</strong> </p> <p> My favorite guitarist is B.B. King. His album <em>Live at the Regal</em>, recorded in 1964, remains a classic. The electricity, the crackling atmosphere… Plus, it’s a great sound, recorded with a full band, horns and piano, and a rabid audience thrown in. </p> <p> B.B.’s distinctive one-note style, his sustain and attack, that kind of call-and-response thing between the vocals and the solos… He’s taken for granted now, which means he’s underrated. Obviously, he’s a maestro entertainer rather than a blues purist, though he can be that too. He’s a former cotton picker, but he remains so self-effacing, plus he has a great sense of humor, lyrically and in life. He’s got class. </p> <p> <strong>MALCOLM YOUNG by Scott Ian</strong> </p> <p> Malcolm Young has got to be the most unsung, underrated guitar hero of all time. He’s the backbone of AC/DC, the greatest rock band ever, and has written some of the most amazing riffs you’ll hear. This is the man responsible for more great rock moments than any other guitarist you can name. Is Malcolm Young the greatest rhythm guitarist in the world? No contest. </p> <p> I recall being given one of his guitar picks recently after a gig on the band’s current tour, and it was half worn down. But you know what’s astonishing? Apparently that pick was used on just one song during the band’s set that night. Malcolm gets through a pick for every song because he hits the strings so hard. It’s amazing. The man is truly a one-off. </p> <p> When I first started to listen to AC /DC, it was Angus who caught my attention. He was the lead guitarist and got all the glory. But in about 1979, when I began to get into guitar playing in a serious way, I gravitated toward Malcolm. I was listening to what he did, because he was the guy writing the music. I now appreciate just how incredible he is. He’s a songwriter, not a shredder, but without him what would AC /DC sound like? </p> <p> If you’ve never heard him play—and can there be anyone on the planet who hasn’t heard Malcolm Young?—then go and listen to the opening chords of “Back in Black.” If that doesn’t move you, then you have no soul. The other songs I’d strongly recommend are “Riff Raff” and “Beating Around the Bush.” The way he takes straight blues riffs and siphons them though the AC/DC sensibility is a lesson to all guitarists. </p> <hr /> <p> <strong>GEORGE HARRISON by Elliot Easton</strong> </p> <p> I was 10 years old when the Beatles played the <em>Ed Sullivan Show</em> [<em>in February 1964</em>], and I was already playing a little guitar. To see George Harrison there, standing off to the side, looking down at his guitar while he played his licks—to my impressionable mind it defined what a lead guitarist was. </p> <p> I knew right then what I wanted to do with my life: I wanted to be like the guy in the middle—the guy looking down at his guitar and playing all the little fills and solos. Harrison taught me about short solos and hooks, and what a hook is. All those mid-Sixties Beatles tracks—whether it was “Day Tripper” or “Ticket to Ride” or whatever—they all start with a guitar lick that you wait to come around again in the chorus. That’s where I learned to do that. </p> <p> <strong>ULI JON ROTH by Kirk Hammett</strong> </p> <p> Around the time of Metallica’s <em>Death Magnetic</em> sessions, I began listening again to some of the rock music of my teens, and it inspired me all over again. I’d forgotten how much those guitarists meant to me. </p> <p> Uli Jon Roth is one of those players. When I started listening to him again, I realized that I can still learn a lot from him. I love his choice of notes, the attitude behind his playing and the way his solos “up” the level of his songs. He took Scorpions to a totally different level. After his solos, you’re left there shaking your head. It’s like being sideswiped by a truck. </p> <p> The track I love the most is the one I play every night, “The Sails of Charon,” from <em>Taken by Force</em>. The opening motif is just great. It’s spooky sounding, exotic. It’s very old-school heavy metal. People in the audience who know the song recognize that I’m flying the flag for that old-school metal, and they come to me and say, “Bro, ‘Sails of Charon’ rules!” There are a lot more Uli Roth fans out there than I expected. </p> <p> <strong>NEIL YOUNG by Nancy Wilson</strong> </p> <p> Neil is identifiable whether he’s playing acoustic or electric guitar. For acoustic he has a completely unique type of tuning, detuning, attack and release. He plays a song called “Bandit,” from the <em>Greendale</em> album, and there’s a live version of it that’s incredible. He chooses a specific guitar that can be detuned on the low string down to a C and picks the particular gauge of string that will rattle in the perfect way. It sounds so wrong that it’s right. I think nobody in the world would do that on purpose except for Neil Young. </p> <p> He has a monstrous electric guitar sound, too, and on “Cinnamon Girl” he recorded what is probably the best one-note guitar solo ever. He puts more feeling into one note than anyone else. It shouldn’t work, but it does. Of course, it’s his tone that makes all the difference. Touch sensitivity accounts for about 90 percent of everything. Neil has such expressive playing that he<em> can</em> play a onenote solo and make it memorable for decades, for generations. </p> <p> <strong>FRANK ZAPPA by Dweezil Zappa</strong> </p> <p> I was never intimidated by my father’s technique. I think most guitar players are just excited to see somebody do something they didn’t think was possible. We’d sit and play together, but what Frank was doing was musical. I couldn’t grasp it at a young age—it was too sophisticated for me. He’d show me inversions of chords and composition devices—moving triads around the neck and stuff. It sounded neat, but I didn’t always understand what was happening musically. </p> <p> I do the Zappa Plays Zappa tour because I want to get Frank’s music more into the public eye. I want him to be better understood. I think there are a lot of misconceptions about his music and him as a person. First of all, Frank was really a composer who used a rock band like an orchestra. He could hear stuff in his head and just write it down. I didn’t have a musical background; I was just a guy who learned things by ear—more a guitar player than a musician. The first thing I learned was the incredibly fast passage toward the end of “The Black Page.” It took me a good five or six months, and I had to totally change my picking technique in order to play this thing. I’d have to play it really slow for hours and hours and <em>hours</em>. I definitely think Frank would enjoy that we go to such great lengths to get it right with Zappa Plays Zappa. </p> <hr /> <p> <strong>PETE TOWNSHEND by Ace Frehley</strong> </p> <p> I got all my rhythm work from listening to Pete Townshend and Keith Richards. I think Pete is a wizard when it comes to chords. He can play the same chord in, like, 20 different positions, doing inversions, suspensions… Just listen to <em>Tommy</em>. I’m a huge fan. </p> <p> Pete has a great right hand as well as a great left hand. “Tattoo” is a great picking song, but of course he’s known best for his power strumming, like on “Pinball Wizard,” and his power chords, like on “My Generation” and the chord that opens “I Can See for Miles.” His rhythm work was just amazing. </p> <p> The first time I saw the Who was the same day I saw Cream for the first time. They were both performing at a Murray the K show in Manhattan. [<em>The revue-style show, presented by disc jockey Murray Kaufman, was called </em>Music in the Fifth Dimension<em> and presented at the RKO Theater from March 25 to April 2, 1967.</em>] I was cutting school, and a friend and I snuck into the show and got down in front. It was the Who’s first New York show. I think the headliner was Mitch Ryder and the Detroit Wheels. </p> <p> I saw the Who perform again, at the Fillmore East, in 1968, the day after Martin Luther King got shot. [<em>The civil rights leader was assassinated on April 4, 1968.</em>] The Who weren’t going to play because they were worried about riots, and I believe they ended up doing a short show. Ironically, Paul Stanley [<em>Frehley’s former Kiss coguitarist</em>] was there too, but we didn’t know each other at the time. </p> <p> <strong>ALVIN LEE by Mick Mars</strong> </p> <p> Sometimes I feel I should’ve been true to myself as a guitar player and stuck with the blues. All bullshit aside, George Clinton, Bootsy Collins, Paul Butterfield, Mike Bloomfield, Alvin Lee, Jimi Hendrix…that stuff was the total shit for me. I was brought up on those players, and they all influenced me in one way or another. </p> <p> When Bloomfield started getting too countrified for my liking, that’s when I discovered Alvin Lee and Ten Years After. Alvin brought a real explosive side to the blues. Some people said they couldn’t handle it, but I thought he was great. </p> <hr /> <p> <strong>PETER GREEN by Rich Robinson</strong> </p> <p> Growing up in America, you couldn’t help but hear Fleetwood Mac’s [<em>mid-Seventies breakthrough albums</em>] <em>Rumours</em> and <em>Fleetwood Mac</em> on the radio all the time. And it was by getting into these records that I started to explore the Peter Green legacy. Obviously, he’d left Fleetwood Mac long before these were done, but I was influenced enough by them to want to know more about what the band had done before. And that’s when I discovered the amazing talent of the man. </p> <p> His playing is just so moving. Listen to what he achieves on “Oh Well” and “Rattlesnake Shake,” and it is stunning. What he does is so interesting because he doesn’t overplay. Green understands that simplicity could hold the key to the blues. </p> <p> It makes him so authentic. To my mind, Peter Green is the finest white man I’ve ever heard playing blues guitar. That’s a bold statement when you consider some of the other greats, but I genuinely believe this to be true. His playing has the soul and passion of the blues. And yet he never seems to get the recognition enjoyed by people like Jimi Hendrix, Eric Clapton or Jimmy Page. Perhaps that’s because he’s so understated. If you check out something like “I Need Your Love So Bad,” what you hear is a guitarist prepared to submerge his own ego for the sake of the song. He gets the mood exactly right. He was never flamboyant like the others I just mentioned. As a result, he’s often overlooked in the list of guitar greats. </p> <p> He also has such an incredible range. You can’t ever claim that one particular song defined him in the way that you can with Hendrix. </p> <p> When the Black Crowes recorded and toured with Jimmy Page, he told us so many Peter Green stories. It was clear that Jimmy loves the man’s talent. And if he’s good enough for a giant like Jimmy to acclaim, then it reinforces my adoration. </p> <p> <strong>RON ASHETON by Kim Thayil</strong> </p> <p> It was the Seventies when I first heard the Stooges. By then, all the albums by the New York Dolls, the Stooges and the MC5 were out of print. You could only find them in used-record stores, and the nearest was six miles away. I’d check out their racks, and once in a while I got lucky. </p> <p> The Stooges’ <em>Funhouse</em> album was one that I found. There’s some crazy stuff on side two—some really great, aggressive rock solos. Ron has a particular gritty, sleazy sound with the groove that he lays down. And the dueling improvisations with saxophone made for some cool jazz noise rock. </p> <p> The Stooges didn’t do as much of that 12-bar blues stuff. They just hit a groove and then hypnotically beat you over the head with it. They just stayed with that riff for a long time. Of course, there is a lot of blues in what Ron did, but there’s something a lot looser, too, and it was freer and it utilized chaos. It was something that was definitely not present in FM rock or Top 40 at the time. “I Wanna Be Your Dog,” “TV Eye,” “Loose,” “Down on the Street”… </p> <p>They’re all amazing. If rock should be about anything, it should be about freedom and rebellion, and not the stupid requirements that would be imposed upon you by the record company—like professionalism. I mean, it’s good for a person to know their damn instrument, or else you can’t come up with inventive ideas, but not to be bound by the patterns on the fretboard.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/steve-vai">Steve Vai</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/brian-may">Brian May</a> </div> <div class="field-item even"> <a href="/joe-satriani">Joe Satriani</a> </div> <div class="field-item odd"> <a href="/david-gilmour">David Gilmour</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/30-30-greatest-guitarists-picked-greatest-guitarists#comments AC/DC Aerosmith Articles GW Archive Jimi Hendrix Joe Satriani Steve Vai Van Halen Guitar World Lists News Features Magazine Mon, 14 Apr 2014 15:33:16 +0000 Guitar World Staff http://www.guitarworld.com/article/3119 New Book, 'Crazy Train,' Revisits the 'High Life and Tragic Death of Randy Rhoads' http://www.guitarworld.com/new-book-crazy-train-revisits-high-life-and-tragic-death-randy-rhoads <!--paging_filter--><p><em>Crazy Train: The High Life and Tragic Death of Randy Rhoads</em> by Joel McIver — featuring a foreword by Zakk Wylde and an afterword by Yngwie Malmsteen — is available now at the <a href="http://store.guitarworld.com/collections/mix-books/products/crazy-train/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=CrazyTrain">Guitar World Online Store.</a></p> <p>Randall Rhoads, born in California in 1956 and cut down in his prime at the age of 26, has been an immense influence on a whole generation of musicians in rock and metal. </p> <p>He first came to international prominence in 1979, when he was recruited from the cult metal band Quiet Riot to play with Ozzy Osbourne, who had been fired from Black Sabbath for his drink and drug addictions and was in urgent need of a co-writer to kickstart a solo career. How and why Ozzy and Randy went on to find enormous success is one of the key themes of <em>Crazy Train</em>, named after the first and most famous Osbourne/Rhoads co-composition. </p> <p>It was Randy's pioneering combination of neo-classical soloing, catchy riffage and unforgettable songwriting which propelled Ozzy to stardom in his own right — even after thousands of Black Sabbath fans had written him off. The two albums which Randy recorded with Quiet Riot and the two with Ozzy showcase the young guitarist's immense ability, although the full extent of his talent may never have been revealed.</p> <p>In 1982 he died in an air crash, the victim of the pilot's cocaine-influenced misjudgment. The parallels between <em>Crazy Train</em> and the author's best-selling <em>To Live Is To Die: The Life and Death of Cliff Burton</em> (Jawbone 2009) are intentional and obvious. Both books deal with a musical prodigy who died tragically in his mid-20s; both men have a vast following and a profile which has risen and risen in the years since their deaths; and both men have a large coterie of friends, family and associates prepared to tell their stories for the very first time.</p> <p>Published by Jawbone Press, $19.95.</p> <p><strong><a href="http://store.guitarworld.com/collections/mix-books/products/crazy-train/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=CrazyTrain">The book is available now at the Guitar World Online Store.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/randy-rhoads">Randy Rhoads</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/new-book-crazy-train-revisits-high-life-and-tragic-death-randy-rhoads#comments Randy Rhoads News Features Mon, 14 Apr 2014 15:26:41 +0000 Guitar World Staff http://www.guitarworld.com/article/20635 Guitarist and Berklee Professor Scott Tarulli Discusses His New Album, 'Anytime, Anywhere' http://www.guitarworld.com/guitarist-and-berklee-professor-scott-tarulli-discusses-his-new-album-anytime-anywhere <!--paging_filter--><p>As a Berklee College of Music professor, Scott Tarulli is well versed in all things rock, blues and jazz (His friends know he also happens to be a closet Dio-loving metal head). </p> <p>His new album, <em>Anytime, Anywhere</em>, features a treasure trove of hooks and catchy songs; it also happens to feature special guests including bebop slide guitar legend David Tronzo, bassist Tony Levin and Jerry Marotta. I recently caught up with Tarulli to discuss the new album.</p> <p><strong>What was it like working with David Tronzo on the song "One Year"?</strong></p> <p>Dave is a great guy, and we've known each other for years but never got a chance to play music together. </p> <p>I've always been a big fan of his, and the song "One Year" on my new album was perfect for him. It was a great session. He came in and the band sat in a circle and we tracked it live. No fixes or overdubs. It came out to be a great dialogue between us. It my favorite track on the album.</p> <p><strong>You’re a very active sideman. What gear do you use for your projects, as compared to session work?</strong></p> <p>I do a good amount of live and studio work as a sideman. For my music, my live rig is strictly an Orange OR50 head through an Orange 2x12 or 4x12 closed-back cab. I love my Music Man Silhouette guitars. I have those stocked with Seymour Duncan pickups. I use Xotic pedals like the BB, AC and RC for boost/gain tones, and then various vintage modulation pedals. I also use the MXR Carbon Copy delay, and I also have a Mike Battle Tube Tape Echo.</p> <p>As for sideman work, it really comes down to the artist and genre. I'm more likely to play old Fender, Vox or Marshall amps in the studio for other artists, and Telecasters, Gibsons, etc. Most of the sideman work I do is classic-sounding tones and textures, so I stick with that kind of gear. I use pedals for effects, and that totally depends on the gig.</p> <p><strong>How might an album go down that you get hired for?</strong></p> <p>If the artist/producer wants the band to play live, there is usually a rehearsal, but I find a lot of what I get called for is coming in to add textures, rhythm parts and leads to existing tracks. I usually show up with various guitars and amps and hear the stuff for the first time in the session. Then it’s all about hashing out ideas to give the song shape. I am a big fan of that type of guitar playing, the old Philly soul records, Beatles albums, James Brown and even pop albums. I always loved how theses great guitar players brought the songs to life with tiny parts or groove. But basically, I think about intonation, tone and taste when I show up. The studio can get tense at times. Keeping the vibe light and not taking life so serious is a big help in the recording process. </p> <p><strong>Some of the songs were tracked totally live without fixes or overdubs. On some you added overdubs to pan out the arrangements. Can you discuss this approach?</strong></p> <p>Yes, I was so lucky to have players on board who were great listeners and great players. I have to admit, I was nervous I might hate a solo I played in a take. There are a few tunes I redid solos on, but songs like "Awake," "One Year" and "1 AM" were totally live, including the solos. Even if I didn't think the solo was perfect, It was hard to change because the band was gelling. In the end it was more important to keep the band's vibe rather than replace the solo for demonstration purposes.</p> <p><strong>You also worked with Jerry Marotta (Peter Gabriel. Paul McCartney, David Foster, Hall &amp; Oates), and Tony Levin (King Crimson, Peter Gabriel, Alice Cooper, John Lennon). That must have been pretty amazing.</strong></p> <p>Working with Jerry Marotta and Tony Levin was a dream come true. I met them while doing a singer songwriter album at Jerry's Dreamland studio in Woodstock, New York. He was producing the album and we hit it off as players and as people. Tony was also on this album; I ended up going out to Dreamland and tracking two songs for my album ("1 AM" and "Last Time"). The basics were tracked live. It was surreal for me sitting across from Tony and playing live with them. These two have been heroes of mine for decades. I've also seen them on big stages while growing up. And let me tell you, they couldn't be kinder people.</p> <p><strong>Who are some of your other influences?</strong></p> <p>I picked up the guitar at 12 because of Buck Dharma's solo on "Veteran of the Psychic Wars" from Blue Oyster Cult's live album. Also, REO Speedwagon was so cool to me. That is when <em>Hi Infidelity</em> came out. Then I was totally into Joe Satriani, Def Leppard, Whitesnake, Ozzy and Richie Sambora. I still am. But then I got into soul albums and went into a heavy jazz phase. I guess if I had to name big inspirations, I'd say Herbie Hancock, Jimi Hendrix, Cornell Dupree, later-era John Coltrane, Bill Evans, Jeff Beck, Steve Lukather, James Burton and anyone who played guitar on all of the wonderful pop albums I love.</p> <p><strong>You told me the album was written and recorded a little over a year after your divorce. How did this affect the writing?</strong></p> <p>Yes, there were huge changes in my life while writing and tracking this album. So the performance and the songs are a product of that part of my life. I'll never relive that era again, and this album is a snapshot of how I felt, what I was or wasn't eating, what I was drinking and the sleep I never got. I think you hear it all in my playing. </p> <p>To be honest, the year was crazy, almost a blur. But it makes the album that much more special to me. I chose the sequence of songs very carefully. It’s meant to be heard in one sitting. I reference melodies throughout the album and connect it that way. And there is a shape to the album. Life in real time.</p> <p><em>For more about Tarulli, visit <a href="http://www.scotttarulli.com/">scotttarulli.com</a>.</em></p> http://www.guitarworld.com/guitarist-and-berklee-professor-scott-tarulli-discusses-his-new-album-anytime-anywhere#comments Dave Reffett Scott Tarulli Interviews News Features Fri, 11 Apr 2014 19:26:22 +0000 Dave Reffett http://www.guitarworld.com/article/20997 Travis Picking: A Guitarist's Guide to Fingerpicking Techniques, Patterns and Styles http://www.guitarworld.com/travis-picking-guitarists-guide-fingerpicking-techniques-patterns-and-styles <!--paging_filter--><p><em>Travis Picking: A Guitarist's Guide to Fingerpicking Techniques, Patterns and Styles</em> is available now at the Guitar World Online Store.</p> <p>From the backwoods of Kentucky to modern-day concert arenas, the Travis picking technique has been a guitar staple for generations.</p> <p>In this comprehensive guide, <em>Acoustic Guitar</em> magazine contributing editor Andrew DuBrock takes you step-by-step from basic accompaniment patterns to advanced fingerpicking methods in the style of Merle, Chet and many others. The accompanying CD contains a demonstration of every example in the book.</p> <p><strong><a href="http://store.guitarworld.com/collections/guitar-aficionado/products/travis-picking/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=TravisPicking">This 72-page book is available now at the Guitar World Online Store for $16.99.</a></strong></p> http://www.guitarworld.com/travis-picking-guitarists-guide-fingerpicking-techniques-patterns-and-styles#comments News Features Fri, 11 Apr 2014 13:14:52 +0000 Guitar World Staff http://www.guitarworld.com/article/18634 Dear Guitar Hero: Stray Cats' Brian Setzer Talks Gretsch Guitars, Joe Strummer, Vintage Cars, Jazz Lessons and More http://www.guitarworld.com/dear-guitar-hero-stray-cats-brian-setzer-talks-gretsch-guitars-joe-strummer-vintage-cars-jazz-lessons-and-more <!--paging_filter--><p><em>He revitalized rockabilly with the Stray Cats and revived swing and jump blues with the Brian Setzer Orchestra. But what </em>Guitar World<em> readers really want to know is …</em></p> <p> <strong>Your playing style is so incredible and immaculate. Did you start with any jazz guitar training or did you just learn how to play “Stairway to Heaven” like the rest of us? — Jon Rubin</strong></p> <p> [laughs] I’m not saying I didn’t play it. Hell, we all played it; it’s a classic. But I did take guitar lessons for about 10 to 12 years, with two different teachers. </p> <p>I took my first lesson when I was eight years old. I went through the Mel Bay books. Back then in Long Island, New York, there were mostly jazz players. </p> <p>So my first teacher was actually a saxophone player. After that I studied with this other jazz teacher, Ray Gogarty. He took me further into the jazz world: advanced chords, a little bit of the modes, scales and standards.</p> <p> <strong>I seem to remember reading that one of the cars on Stray Cats’ <em>Built for Speed</em> album cover was yours. Is that true? — Eric Smoot</strong></p> <p> Yeah, the ’56 Chevy on the cover of <em>Built for Speed</em> was mine. That Chevy actually got stolen from a parking spot years ago. I wish I still had it. I came back from doing what I was doing, and the car was gone. It broke my heart. </p> <p><strong>What first inspired you to play guitar? — Molly McAllister</strong></p> <p> I was a little kid, like six or seven years old, when the Beatles came out. I remember hearing their music and I couldn’t imagine where that sound was coming from. </p> <p>Then I saw a picture of the Beatles, and George [Harrison] had an electric guitar, and I was like “That’s it!” It was that sound—the sound of George’s guitar—that first captured me when I was really young. It all goes back to that sound.</p> <p><strong>What led you down the rockabilly path? — Steve</strong></p> <p> The real defining moment for me was when I heard [Gene Vincent’s] “Be-Bop-A-Lula” on the jukebox. Back in 1976 or ’77, we had this club in Manhattan called Max’s Kansas City. There was always punk music blasting, but for some reason one day “Be-Bop-A-Lula” came on the jukebox. It was as if a hand came across the bar and grabbed me, like, “Listen to me! Listen to how cool I am!” </p> <p>There was just something about the raw, back-to-basics sound that fit perfectly with the urgency of the punk movement I was in back then. To me, rockabilly music paralleled punk’s energy and feeling, but the players were much better. I’m telling you, I still remember Cliff Gallop’s solo coming out of the speaker. I went, “What the heck is that? Who’s playing this?”</p> <p><strong>I really dig your hair. What is your secret ingredient? Are you a Murray’s Pomade man? — Joe Barrios</strong></p> <p>[In radio-announcer voice] You’ve heard of Dapper Dan? Well, I’m a Murray’s man! [laughs] As my dad used to say, “You’ve got to train your hair.” And then once you’ve got it trained, you comb it in the position, throw in a little bit of Murray’s … and you’ll be a Murray’s man, too. [laughs]</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/zk_WpqVFYZg" frameborder="0" allowfullscreen></iframe></p> <p><strong>What attracted you to using Gretsch hollowbodies as your main guitars? — Jeff Osgood</strong></p> <p>The first reason I wanted to play a Gretsch guitar is because Eddie Cochran played one. Believe me, when I was growing up, nobody knew who he was. I just stumbled across this record and I thought he looked cool. I had no idea he was that good. </p> <p>But once I popped on the record, it was exactly the guitar sound that I wanted: somewhere between a Fender and Gibson. To me, if you play a Fender straight through the amp without any effects, it’s a little thin sounding. And a Les Paul didn’t twang enough; it was just always on 11, you know?</p> <p>The Gretsch was right between those two. It had that twang, but you could really make it sing if you wanted. I guess it just fulfilled the sound I was hearing in my head.</p> <p><strong>I know you co-wrote some tracks with [late Clash singer and guitarist] Joe Strummer for your <em>Guitar Slinger</em> album, and I heard that you were friends with him, as well. Can you share any good stories? — Cole Slaugh</strong></p> <p> Oh, I’ve got a lot of great memories with Joe. Joe and I would spend the summers together because we were good friends and we both had children. So we’d throw the kids in the pool and have a good time. Joe had a very good, dry sense of humor, you know, and some of the things he would say were just…</p> <p> Well, let’s say he was very good at making fun and making light of a situation. If you were wound up or you were aggravated about something, Joe would say a couple words, and then you would laugh and realize how silly the whole thing was. He was a great guy, and a genius of our time.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jV13bGmH7Fo" frameborder="0" allowfullscreen></iframe></p> <p><strong>Which classic rockabilly artists would you recommend I check out to better understand the style? — Jimmy Vomvas</strong></p> <p> The definitive rockabilly album for me was Elvis Presley’s <em>The Sun Sessions</em>. Boy, oh boy. That probably has everything you need all wrapped up right there. Also pick up the first two Gene Vincent records: <em>Blue Jean Bop</em> and <em>Gene Vincent and the Blue Caps</em>. As a guitar player, you have to hear Cliff Gallup play with Gene Vincent and Scotty Moore play with Elvis Presley.</p> <p><strong>I love your live sound. But I’d like to know how you control feedback at stage volume. I have had this issue with hollowbody guitars in the past. — Eric A. Nay</strong></p> <p> I’ve actually never had any problems with the [Gretsch] 6120 with FilterTron pickups. The feedback that I get is kind of friendly feedback. It’s like a note, not a squeal. I love what happens on a hollowbody guitar when you’re too close to an amp. That sound comes back through the guitar and vibrates the body, like an old jalopy or something. That’s the most magical feeling to me. Once you figure it out, you can kind of control all of those feedback notes.</p> <p><strong>You’ve got an amazing sound. What is your main amp-and-effect setup? — Billy Wilson</strong></p> <p> I just use a ’63 Fender Bassman and a Roland Space Echo. I mean, my amps have been worked on, but they’re not modified—rather de-modified. Over the years people have put in the wrong tubes, cables and speakers. I try to get the Bassmans back to stock, and I like to use Celestion Vintage 30s for the speakers. I think they’re better matched to the power of the amplifier head.</p> <p> <strong>I’ve always been impressed by your right-hand picking technique. Could you give me any advice on how to refine mine? — Greg Terzian</strong></p> <p> Well, first of all, anyone that tells you “This is the only right way to do it” is wrong. Any way you feel comfortable fingerpicking…if it works for you, then do it. There’s not a wrong or a right way. </p> <p>When I fingerpick, I tuck my pick under my index finger; I’ll slip it down when I use the guitar pick, and then I tuck it up, and use my thumb, second, third and fourth fingers to fingerpick. I’ve never heard of anyone doing that, and I don’t know if you could call it correct, but that’s what works for me.</p> <p><strong>Do you ever get bored playing rockabilly-type stuff? If not, how do you keep your playing fresh within that style? — Justice Edwards</strong></p> <p> I always mix in new things, new influences. There are so many different styles you can play in that genre. I mean, I’m a rockabilly guitar player, but I’m influenced by all American musical styles, like jazz, blues, country and rock and roll. So the way to keep from getting bored from playing one particular genre of music is to mix in other styles.</p> <p><em>Photo: David Bowman</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/brian-setzer">Brian Setzer</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/dear-guitar-hero-stray-cats-brian-setzer-talks-gretsch-guitars-joe-strummer-vintage-cars-jazz-lessons-and-more#comments 2011 Brian Setzer Dear Guitar Hero July 2011 Stray Cats July Interviews News Features Magazine Thu, 10 Apr 2014 19:06:29 +0000 Brad Angle http://www.guitarworld.com/article/11071 Listen: Led Zeppelin Preview Unreleased Live Tracks from Deluxe Reissue of 1969 Debut Album http://www.guitarworld.com/listen-led-zeppelin-preview-unreleased-live-tracks-deluxe-reissue-1969-debut-album <!--paging_filter--><p>Earlier today, <a href="https://www.youtube.com/user/ledzeppelin">Led Zeppelin's official YouTube channel</a> posted a one-minute clip that contains snippets of the band's October 10, 1969, show at the L'Olympia in Paris.</p> <p>You can check out the clip — which contains bits of the "Good Times Bad Times" / "Communication Breakdown" medley — below. Tell us what you think in the comments below or on Facebook!</p> <p>The live disc makes up the bonus material that will be included with the deluxe reissue of <em>Led Zeppelin</em>, the band's self-titled debut album from early 1969, which will be released June 3 by Atlantic/Swan Song. The album — and every Led Zeppelin album — has been remastered by Jimmy Page.</p> <p>Here's the complete track listing from the deluxe version of <em>Led Zeppelin</em>:</p> <p><strong><em>Led Zeppelin</em> track listing:</strong></p> <p>01. Good Times Bad Times<br /> 02. Babe I'm Gonna Leave You<br /> 03. You Shook Me<br /> 04. Dazed And Confused<br /> 05. Your Time Is Gonna Come<br /> 06. Black Mountain Side<br /> 07. Communication Breakdown<br /> 08. I Can't Quit You Baby<br /> 09. How Many More Times</p> <p><strong>Companion Audio Disc: <em>Live At The Olympia - Paris, France October 10, 1969</em></strong>:</p> <p>01. Good Times Bad Times/Communication Breakdown<br /> 02. I Can't Quit You Baby<br /> 03. Heartbreaker<br /> 04. Dazed And Confused<br /> 05. White Summer/Black Mountain Side<br /> 06. You Shook Me<br /> 07. Moby Dick<br /> 08. How Many More Times</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/OB9Gga6oyaQ" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/listen-led-zeppelin-preview-unreleased-live-tracks-deluxe-reissue-1969-debut-album#comments Led Zeppelin Features Thu, 10 Apr 2014 17:08:26 +0000 Guitar World Staff http://www.guitarworld.com/article/20985 Derek Trucks Discusses Leaving the Allman Brothers Band: "At Some Point, You Have to Step Away" http://www.guitarworld.com/derek-trucks-discusses-leaving-allman-brothers-band-some-point-you-have-step-away <!--paging_filter--><p>In January, Derek Trucks and Warren Haynes issued a joint statement that they would no longer tour with the Allman Brothers Band after this year. </p> <p>Though Gregg Allman said in an interview that the guitarists’ departure would likely mark the end of the band, which is currently celebrating its 45th anniversary, the band has not released any official statement and their future plans remain unknown. </p> <p>I spoke with Derek as the band was beginning their March run at New York City’s Beacon Theatre. They played 10 of 14 shows before postponing the final four because Allman was unable to perform after an illness he said was bronchitis. They have not yet announced when the shows will be played.</p> <p>This weekend, the Allman Brothers Band will appear at <a href="http://www.waneefestival.com">Florida’s Wanee Festival</a>, along with the Tedeschi Trucks Band, Gov’t Mule and many others. I'll be speaking there Saturday, discussing my new book <em><a href="http://www.amazon.com/gp/product/1250040493/ref=as_li_tf_tl?ie=UTF8&amp;camp=211189&amp;creative=373489&amp;creativeASIN=1250040493&amp;link_code=as3&amp;tag=alanpaulinchi-20">One Way Out: The Inside History of the Allman Brothers Band.</a></em></p> <p><a href="http://alanpaul.net/2014/04/warren-haynes-on-why-he-decided-to-leave-the-allman-brothers-band/">Click here to read an exclusive interview with Warren Haynes on his thoughts on leaving the Allman Brothers Band.</a></p> <p><strong>Why did you decide to leave the Allman Brothers at the end of this year?</strong></p> <p>It’s something I’ve been thinking about for a long time. I want to see the legacy end as it should — at the top. I don’t want to see Joe Montana in Kansas City or Muhammad Ali at the end of his career. It’s a rare thing to be able to go out on top and in great shape, and I think it would be great, but it’s ultimately not up to me, but to the original members, if they will continue.</p> <p><strong>Right. And people are waiting for a statement that hasn’t come, which would seem to indicate that Gregg, Butch and Jaimoe have not made up their minds about the future.</strong></p> <p>I‘m hoping that if it continues, it’s because it’s supposed to and not for personal reasons. I think from Duane until now, the band has given everyone so much and at some point you have to honor the legacy with real dignity.</p> <p>I was watching Leonard Cohen receive an award in Spain and I was struck by acceptance speech, with him talking about how everything has an end but you need to recognize and honor it and treat it with dignity. He said that if you have the ability to treat the end with real dignity and beauty, that’s what separates things. I thought that was apropos to our situation.</p> <p><strong>I understand what you’re saying, but also understand why it’s hard to stop something that is still working very, very well.</strong></p> <p>Yes, but at some point, you have to step away. With all the ups and downs of the band, it’s been an amazing, unique story — as you know as well as anyone! And if you can go out the right way, it keeps the story amazing to the end. It might be a hard thing to do, but to me, it’s the right thing to do.</p> <p><strong>Why did you and Warren elect to make your announcement together?</strong></p> <p>I think it’s more powerful that way. The information was leaked out in January on the Jam Cruise, and it was going to come out one way or the other that I had decided not to tour with the Allman Brothers after this year, and I just wanted to get out in front of it</p> <p>I was really happy that Warren decided to be with me, but that was, of course, up to him. It all happened really quickly; information travels quickly these days. I was leaving for a tour and I started getting these emails asking questions and basically saying, “We’re going to run with the story. Do you want to comment?” </p> <p>Obviously I’ve been thinking about it for a while and I just decided to jump on it.</p> <p><strong>The statements by you and Warren were very eloquent. Did you really write them in response or did you have them ready?</strong></p> <p>Thanks. We wrote them in response. I spoke to [Tedeschi Trucks Band singer] Mike Mattison who has a great way with words and helped me craft my statement. Then I sent it to Warren. I didn’t want to implicate him at all if he wasn’t ready. Half an hour later, he called me and said, “Do you mind if we change the first paragraph from I to 'we' and I add my own statement?”</p> <p><strong>Can you just explain a little why you have decided to do this now?</strong></p> <p>Really, it’s more time at home and more time focusing on one project. Since I’ve been an adult, I’ve never had the opportunity to go full steam on one project. I love all the amazing opportunities, but it’s going to be great to wrap my head around one and see what we can do.</p> <p>I’ve been in the Allman Brothers for 15 years, and the whole time I’ve also had my solo career and it’s been wonderful but very busy, and frankly I’ve missed a lot of my kids growing up. I’ve never been home for one of my son’s birthdays. It’s March 6 and I’ve been at the Beacon every year. I want to jump on the last remaining years I have with my kids before they are fully grown up. We’ve managed it really well and been very fortunate to have family close by to help out, but it’s time to simplify and refocus on my own band and my family.</p> <p><strong>Anyone with a family can understand that desire. On the other hand, the Allman Brothers have toured less and less and it doesn’t seem like a huge time commitment.</strong></p> <p>Right, everyone thinks that, but there’s also travel, rehearsals, the difficulty of scheduling. And even if it’s “only” three or four months a year dedicated to the Allman Brothers, that means you start the year with eight or nine instead of 12 and it gets chopped up pretty quickly. I don’t think I’ve had a month at home since I joined the Allman Brothers, and I’m ready for that. </p> <p><strong>The band has done a remarkable job for 45 years at finding great new players to replace seemingly irreplaceable members.</strong></p> <p>Yes, and who knows what will happen next. I would never bet against an Allman Brothers' resurrection. There have been a few times I thought it was over, and we came roaring back.</p> <p>There’s something about the storyline that sets it apart. You have to give back to the institution and even though it may seem counter–intuitive, it may be that the best way to do so is walking away. I respect the band and the music as much as anyone does, and it’s been amazing being a part of it, but I also feel like sometimes you have to step back from it and think what’s best for the legacy of the group. </p> <p>Warren and I and a few of the other guys in the band have had long heart-to-hearts about this and really believe we have the chance to go out and throw down. Going out with guns blazing, giving it everything you’ve got, is a lot better than limping across the finish line. No one wants to see that happen. If I were writing the story, that’s how it would go. But a lot of people are in a lot of different places personally and musically. </p> <p><strong>You seem very calm and at peace with your decision.</strong></p> <p>Honestly, I feel like a weight has been lifted because it’s something I’ve been contemplating for a long time. You can only mean it at 100 percent as long as you mean it at 100 percent. I’m not an actor, and when I play it’s got to be full on. If I feel like it’s the right thing to do, it’s easy to do.</p> <p>My feeling always is, if you can continue to put your heart in for the right reason and keep roiling then you should do so. Now I feel much as I did when I put my solo band aside in favor of [Tedeschi Trucks Band]. Some people didn’t understand why I would do that, but I just thought it was time. </p> <p>And from the first day of rehearsal, it feels really fresh and new and honest, maybe in a way it hasn’t since the 40th anniversary. I’m excited about getting on stage every night and playing every show like it’s the last show. You try to have that feeling every time you go on stage, but it’s 100 percent different when it really might be true that It could be the last time you play this particular song with this particular band — so make it count.</p> <p><em>Photo: Dino Perrucci</em></p> <p><em>Alan Paul is the author of the best-selling book </em><a href="http://www.amazon.com/gp/product/1250040493/ref=as_li_tf_tl?ie=UTF8&amp;camp=211189&amp;creative=373489&amp;creativeASIN=1250040493&amp;link_code=as3&amp;tag=alanpaulinchi-20">One Way Out: The Inside History of the Allman Brothers Band.</a></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/derek-trucks">Derek Trucks</a> </div> <div class="field-item even"> <a href="/allman-brothers-band">Allman Brothers Band</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/derek-trucks-discusses-leaving-allman-brothers-band-some-point-you-have-step-away#comments Allman Brothers Band Derek Trucks Dino Perrucci Interviews News Features Thu, 10 Apr 2014 14:48:57 +0000 Alan Paul http://www.guitarworld.com/article/20984 Voices Carry: Aimee Mann and Ted Leo Discuss Their New Band and Album, 'The Both' http://www.guitarworld.com/voices-carry-aimee-mann-and-ted-leo-discuss-their-new-band-and-album-both <!--paging_filter--><p>Aimee Mann is an Oscar-nominated singer/songwriter and bassist who has scored hits as a solo artist and with 'Til Tuesday. </p> <p>Guitarist Ted Leo is a Midwestern punk rocker who’s established a reputation for musical genius as a solo act and with his band, the Pharmacists. </p> <p>Now, both artists have joined forces and are calling themselves the Both.</p> <p>Their self-titled debut album, which will be released April 15, speaks to the friendship and mutual respect Mann and Leo share. From the hook-laden harmonies and Bronze Fonz references of “Milwaukee” to the social messages of songs like “Volunteers of America," <em>The Both</em> is an album with the DNA of Mann and Leo strongly imprinted on it — and one refreshingly unique and engaging debut.</p> <p>I recently spoke with Mann and Leo about their new album and collaboration.</p> <p><strong>GUITAR WORLD: How did the Both begin?</strong></p> <p><strong>Mann:</strong> Ted was opening for me on my last album and tour, and the music he was playing really piqued my interest. I remember while he was playing I’d often start thinking to myself, "You know, I really want to play bass on that song!" and after a while, I asked him if I could sit in. We started playing and having so much fun that it led to the idea of writing some songs together that eventually became this record.</p> <p><strong>What was the process like writing for the album?</strong></p> <p><strong>Leo:</strong> Generally, one of us would come up with a theme either musically or lyrically and then we’d kick it back and forth. We’d usually start over email and then get together on video chat or in person and put it together. We’re both deeply a part of the songs we’ve written together.</p> <p><strong>Tell me a little about the song <a href="https://soundcloud.com/superegorecords/milwaukee">"Milwaukee"</a> [Check out the music video below] and the reference to the Bronze Fonz.</strong></p> <p><strong>Mann:</strong> Ted and I were in Milwaukee taking a walk after sound check when we came upon the Bronze Fonz [a sculpture depicting Henry Winkler, the actor who played Arthur Fonzarelli on TV's <em>Happy Days</em>]. It’s a commemorative sanctuary that misses on so many marks. Originally, I wanted to send Ted a piece of music and wrote some words about the statue just to be funny, but as I was working on it I started becoming attached to it.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/VqSYzOXkthg" frameborder="0" allowfullscreen></iframe></p> <p><strong>Ted, what are some of the differences between your solo career and working with Aimee?</strong></p> <p><strong>Leo:</strong> The act of setting out to write with someone as a collaboration is something I’ve done from time to time, but not in as pointed a way or for a more specific goal as having this band with Aimee. I’m still learning as a musician from this project, and because we’re doing it together I’m able to focus on locking in with someone as opposed to being the driving force. </p> <p><strong>Aimee, you were quoted as saying that being in the Both makes you feel like you’re part of a rock band for the first time. Why do you feel that way? </strong></p> <p><strong>Mann:</strong> Even though it’s mostly just the two of us, when Ted and I play live it really feels like a band and a shared experience. ‘Til Tuesday was a band, but it often felt like I was driving. This feels more like a co-drive.</p> <p><strong>Did you always aspire to be a bass player?</strong></p> <p><strong>Mann:</strong> I started out on bass and played it in ‘Til Tuesday and the Young Snakes. Bass also was my main instrument when I was going to Berklee. When I do my solo shows, it’s more convenient for me to play acoustic guitar and have my producer, Paul Bryan, play bass. He’s a fantastic bass player. For this project, it’s been really fun to play bass again in such a stripped-down capacity. There’s something very satisfying about it.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/oObYxyp5zbE" frameborder="0" allowfullscreen></iframe></p> <p><strong>Ted, when did you start playing guitar?</strong></p> <p><strong>Leo:</strong> I was in bands as a singer before I started playing and didn’t really pick up guitar until I was about 18. At this point, though, it’s become another appendage. Working in a three-piece with a bass player as interesting and amazing as Aimee also allows me to step out as a guitar player in a way that I haven’t done before. I feel that I’m playing a more free-er form of guitar than I have in the past. </p> <p><strong>Can you tell me the origin of the song "Voices Carry"?</strong></p> <p><strong>Mann:</strong> I had heard someone use that phrase and wrote it down because I thought it sounded interesting. The subject matter was a friend of mine who was talking about a girl he was seeing. He would tell me how she was very affectionate whenever they were alone together but as soon as they got in public she acted like she didn’t even know him. That’s what I wrote it about.</p> <p><strong>What are you most looking forward to with this project?</strong></p> <p><strong>Leo:</strong> We’ve both been doing this so much over the course of our careers, but thankfully, some things never change. The album is finished and about to be released and the tour dates are booked but haven’t yet begun. All that’s left now is the anticipation of getting out there and going to work. It’s trepidatious and exciting!</p> <p>For more information, visit the Both's <a href="http://www.the-both.com/">official website</a>.</p> <p><em>Photo: Christian Lantry</em></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/voices-carry-aimee-mann-and-ted-leo-discuss-their-new-band-and-album-both#comments Aimee Mann James Wood Ted Leo The Both Interviews News Features Wed, 09 Apr 2014 18:08:52 +0000 James Wood http://www.guitarworld.com/article/20982 Pepper Keenan on the Upcoming Down EP, ‘Down IV—Part Two,’ and the Possibility of Reuniting with Corrosion of Conformity http://www.guitarworld.com/pepper-keenan-upcoming-down-ep-down-iv-part-two-and-possibility-reuniting-corrosion-conformity <!--paging_filter--><p><em>Guitar World</em> recently caught up with Down guitarist Pepper Keenan to discuss the group’s upcoming EP, <em>Down IV—Part Two</em> (on sale May 20), the departure of longtime guitarist Kirk Windstein, and the possibility of a reunion with his Keenan’s former band, Corrosion of Conformity.</p> <p><strong>When did you start working on the upcoming <em>Down IV—Part Two</em> EP?</strong></p> <p>We were touring a lot, and we did a bunch of killer shows in Europe and the band as a whole was very excited about where we were heading. And then we had some issues with Kirk [Windestein] and him wanting to focus more on Crowbar—and that happens sometimes in bands, you’d be a fool to deny it. </p> <p>We were just going in separate directions, and that’s okay—I mean, we only wanted the best for Kirk, but Down wasn’t going to waste one second, and he understood that. But I understood where Kirk was coming from—Crowbar is his baby.</p> <p>So, during that period, me and Jimmy [Bower, drums] and Pat [Bruders, bass] were just in the jam room constantly, coming up with ideas and running them past Phil [Anselmo, vocals] to make sure that we were all on the same page. And then basically our ace in the hole became Pat. </p> <p>He had been in Crowbar all these years, but he never really had a chance to write much of anything. And he started coming up with some amazing ideas, and that took some of the pressure off of us. We do it pretty old-school—just beatin’ it out in the jam room.</p> <p><strong>What are some of the pros of doing four consecutive EPs?</strong></p> <p>Usually when you do a full length album, the record company throws it out there and maybe you get a couple of months out of it—but we wanted to do something that would stretch that out for a couple of years. Down likes to tour a lot, and doing the EPs will allow us more freedom to do that and get more music out to our fans more frequently.</p> <p>Plus we have different types of songs in this band, and doing EPs will let us bring out some of those songs that didn’t fit on an album before. Like the next EP will probably have more campfire-type, acousticy songs. It’ll give us an opportunity to show a different side of Down without having to do another whole album, or take those few acoustic songs and jam them into full album. We just like the idea of splitting the material up into four EPs and making it work to our advantage.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/IWuNhdINTJo" frameborder="0" allowfullscreen></iframe></p> <p><strong>From a songwriting perspective, what did it mean to lose Kirk Windstein?</strong></p> <p>I knew we were losing something, but I couldn’t quite figure out what it was. I just knew that something was going to be gone. I’m pretty prolific when it comes to riffs and songs, so it wasn’t that much of a concern—but Kirk and I had been doing this together for 20 fucking years, so that aspect of it was gone. </p> <p><strong>How did your stage manager, Bobby Landgraf, come to be Kirk’s replacement in the band?</strong></p> <p>We were gonna go on a nationwide search for guitar players and all that, but sometimes that ends up biting you on the ass. The truth is we’re really not the easiest band to get along with—we kind of have our own language and way of doing things—so we wanted someone we knew we could hang out with, and Bobby was right there. After we got him in the game, everything started rolling. It reinvigorated us to have some new blood in the band.</p> <p>We’re happy as clams right now. Everybody’s heads are clear—nobody’s stumbling around, and we’re ready for the next couple of years for sure. </p> <p><strong>The new EP isn’t a huge departure from the first one.<strong></strong></strong></p> <p>No, it isn’t, but that was kind of the intention. I think it’s really gonna shift on the third and fourth EPs. The first one we just kinda ham-fisted it out, and the second one has a little more trickery going on—the riffs aren’t quite so simple and easily digestible, and at the end there’s this little acoustic thing that I think is gonna fly into the third EP. There’s some really crafty guitar stuff happening on this EP that we’ve never ventured into before. </p> <p><strong>Your last recording with Corrosion of Conformity was 2005’s <em>In the Arms of God</em>. Are you open to reuniting with C.O.C.?</strong></p> <p>I talk to Woody [<em>Weatherman, guitar</em>] and Mike [<em>Dean, bass</em>] about it often, and it’s definitely on the radar—but those guys are fully capable of doing it as a three-piece on their own for now, and they have been for a while. It’ll happen sooner or later, but only when I could give C.O.C. the utmost respect and attention that it deserves. But the truth is, doing both of those bands full-time is too much.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/down">Down</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/pepper-keenan-upcoming-down-ep-down-iv-part-two-and-possibility-reuniting-corrosion-conformity#comments Down July 2014 Interviews News Features Wed, 09 Apr 2014 15:26:12 +0000 Jeff Kitts http://www.guitarworld.com/article/20968